Search:the drive

KinAhau returns to Crosstown Rebels with expansive new single ‘Under the Flowerpot’, featuring Luke Cusato. Backed by a cosmic, synth-driven remix from Perel, the release lands on the label. After debuting on the label with his remix of Airrica’s ‘Hi Speed Lover’ last year, surging wonderkid KinAhau steps forward with his first full solo release for Crosstown Rebels. ‘Under the Flowerpot’ captures a moment of raw honesty and transition for the young Mexican artist, revealing a more expansive, song-led direction in collaboration with UK vocalist Luke Cusato.

The single was born during a turbulent period, written in the wake of a panic attack shortly after relocating to Rome. That sense of fragility and release runs through the record, pairing Cusato’s stirring topline with KinAhau’s widescreen production to create a cut that blurs the lines between club energy and confessional songwriting. For the remix, Damian Lazarus welcomes Perel to Crosstown Rebels. A unique voice within the electronic landscape, crafting her own lane with a genre-blurring approach, her remix is chugging, synth-led, and infused with a signature retro-futurist touch, channeling cosmic energy and slow-burning tension for dancefloors that like things deep and driving.Now 22, KinAhau’s journey has already taken him from handing Solid Grooves founder Michael Bibi a USB disguised as a trash collector to playing at DC10, Fabric, Space Miami and Mayan Warrior. His breakthrough collaboration ‘Different Side’ with Bibi and Audio Bullys carried his name onto global stages, while his 2024 mixtape comprised of old demos, drafts and edits revealed a more confessional, unfiltered edge to his sound. Yet ‘Under the Flowerpot’ feels like a deeper statement, one rooted not in hype but in self-exploration.

DJ support: Michael Bibi, Solomun, ANOTR and more
Rising duo Moontalk step into the spotlight on Planet X with ‘Hot Line 84’, a track that channels tightly wound grooves, warped guitar licks and infectious vocal touches into a rolling dancefloor cut. Built with a sharp focus on rhythm and texture, the single captures the duo’s forward-thinking approach and delivers a fresh statement of intent on one of the underground’s most closely watched labels.

Planet X head Ben Sterling completes the release with his own reinterpretation, steering ‘Hot Line 84’ into darker, hypnotic territory. Crafted live using various guitars and analogue synths, Sterling’s remix brims with raw energy, tunnelling its way through Indie Dance textures while retaining the future-facing edge of the original. A track already championed by the likes of Michael Bibi, Solomun, ANOTR and more, it’s another bold showcase of Sterling’s versatility as both a producer and label curator — and a reminder of Planet X’s commitment to cutting-edge, cross-genre sound.

Together, the original and remix strike a balance between groove-driven immediacy and late-night depth, capturing two distinct yet complementary sides of the Planet X universe. ‘Hot Line 84’ stands as a compelling snapshot of where the label is heading next: innovative, immersive and firmly in tune with the dancefloor.

The Rituals series rises again, a fresh strike carved deep into black wax. RITUAL12 summons an international assembly of techno insurgents from the OMEN roster, each delivering their own sonic rite. Across two sides, the intent is absolute: raw, unfiltered power pulled from the shadows and unleashed on the dance floor.
RITUAL12 is not a compilation, it’s a convocation. Forged in analogue heat, drenched in distortion, and aimed directly at the heart of the floor, this record demands full surrender. Step in. There is no turning back.
SIDE A
Swarm Intelligence – Inexorable
Berlin’s Swarm Intelligence ignites the record with precision-tooled percussion and fractured basslines. Polyrhythmic tension winds tighter with every measure, industrial grit locking into a cybernetic march toward total hypnosis.
B.A.R.K – Shikijitsu
A bone-rattling invocation of distorted low-end and ceremonial drums. B.A.R.K drives forward like ancient machinery grinding to life, a Japanese primal energy sharpened to a deadly edge.
Axkan + Duellist – Resilence
Mexico meets Scotland for a brutalist assault: hammering kicks, serrated synth textures, and walls of analogue saturation. No safe passage here, only forward momentum into the heart of chaos.
SIDE B
EAS – Honored One
From Los Angeles, EAS delivers a tense, ritualistic construction where a subterranean EBM bassline pulses through metallic drones. Hypnotic, uneasy, and charged with controlled dissonance.
Ha†elove + Ogmah – Hanged Bodies
A dark ceremonial groove, heavy with ritual percussion and spectral synth chants. The layers rise to a fever pitch, blurring the line between transcendence and collapse.
Crystal Geometry + Axkan – Kratom
France’s Crystal Geometry joins Axkan for a militaristic strike of modular chaos and pummeling drums. EBM infused basslines drive beneath razor-sharp synth fire, rallying the midnight faithful to the front lines.

Next up on Bosconi, the ever-persistent Italian outpost helmed by DJ sorcerer Fabio della Torre, comes a bold new chapter from label mainstay Lapucci—a familiar name to heads who remember his trippy debut Levitated Sensor Detector (LSD).

With Level of Control, the Florence-based Burbi Dub dubplate conjurer delivers a four-track EP that travels across moody electronics, psychedelic grooves, and off-world rhythms.

Kicking off the A-side is “Radio Controller”, a dark and melodic new beat jam with deep ‘80s roots—think obscure synths, rolling drum-machine funk, and a haunting vocoder line that crackles like forgotten transmissions.
Next up, “Einstein”. This one’s a jacking electro-techno burner, all drive and tension—built for those peak-time moments where things feel like they could go off the rails. There’s a cinematic sense of anticipation here, a nod to the cosmic weight of relativity and dancefloor gravity.

Flip to the B-side for “Level of Reality”—a trance-soaked electro weapon, laced with a screaming guitar-like lead and a soaring, emotional melody. It’s peak-time power with sunrise sensitivity—equal parts rave and revelation.
Closing things out is “Irabijanti”, a stripped-back, hypnotic afterhours tool with a fresh, effortless groove. Subtle nods to Middle Eastern scales and rhythms give it a dreamlike, drifting feel—like getting lost in the dunes of some alien desert.

Another must-have from the Bosconi mothership—Lapucci pilots us further out, not with a bang but with a slow magnetic pull into somewhere weird, warm, and wired.

WVLT is the newest sonic addition from WNDFRM (Portland-based, Tim Westcott), an album of eight distinct explorations exploring the many facets of experimental IDM.

Tim Westcott’s practice is rooted in an acute, nearly forensic attention to sound. Subtle tones, sculpted drones, and lean percussive gestures, always pursued with a patient ear and obsession with sound design. 

With previous releases on Prologue, Home Normal, and Dragon’s Eye Recordings, and several live performances at Mutek, a new album from Tim is a rare yet welcome occurrence. The conceptual approach for WVLT began in 2021, mixing synths with drum machines and granular processing. Lightly arced structures slip between gates of rhythm, shifting pulses, translucent washes, and disquieting residue. There’s a precision to the hesitation and an insistence in the space between notes, a deft balance of raw improvisation and sculpted quietude.

An exercise in immediacy and response, each track builds and unspools, like form in fleeting motion, driven by the moment’s tonal contrasts, micro‑rhythmic interplay, and slight gestures that alter entire planes of listening. It’s minimal without sparsity, intense without density.

Next up on Mesh is Throwing Snow’s ‘Jackals’, a five-track EP drawing on echoes of UK subcultures.
Written in Ireland late last year with the London 2010s in mind, ‘Jackals’ is Throwing Snow’s love letter to his time spent there, tapping into a detailed web of sounds and styles through a personal lens, but skillfully produced to resonate with many. Locating memories in a transient city that is constantly reconfiguring itself, each track is an attempt at honouring fragments of recent, but seemingly distant, musical history. Taking us from DMZ at Brixton Mass to FWD at Plastic People, or Future Garage Fridays in Soho (IYKYK) to early days of NTS, the EP captures some of the fleeting moments that continue to play a significant part in the city’s sonic patchwork.

Production-wise, all the tracks share the same sounds twisted in different directions. The hats are vocoded with noise and random LFOs, and much like the chaos of London, every bounce has a unique pattern.

Opening track ‘Jackals’ walks the line between dub and UK bass, quickly overtaken by a wonky synth lead that spirals eternally upwards. ‘Ohnein’ jumps in with a massive pad swirling above a half-time step. In Throwing Snow’s own words, ‘I had to check with Martyn whether I'd ripped him off, turns out I hadn't, but it's a heavy head nod crossed with Un Vingt from my first 12"’. ‘A Cloud Mountain’ - a nod to the timeless James Holden remix of Nathan Fake’s ‘The Sky Was Pink’, leans into a maximalist progression of deep chords and fractured synths. ‘Forged’ steps into a weightier space with sparse drums driven forward by a deep cut of bass and twitchy echoes. Rounding things off, ‘Path Dependency’ speeds things up with touches of DnB in the drums, distant echoes in the forefront and the occasional sub wobble holding things together.

On September 26th, 2025, two decades and seven albums into his career, American musician, composer, and academic John Maus will release his most transcendent work yet: Later Than You Think. Arriving via his new label YOUNG, the album explores themes of grief, justice, rebirth, transformation, and spiritual warfare - coalescing into a work of confession and confrontation: an aural metaphysics where affect, intellect, and spirit converge in search of the beautiful, the truth and the real. Written, produced, and recorded in the Ozarks of Southwest Missouri, Later Than You Think spans 16 tracks and contains multitudes - the lush and the bare, the sacred and the profane, minimalist discipline and maximalist indulgence, counterpoint and simple pop harmony. At its core, the album reaffirms John Maus’ commitment to radical sincerity and emotional truth in an age of alienation. Powered by confrontation, faith and transformation - driven by the urgent belief that meaning still matters, and time is of the essence. Holding a degree in experimental music from CalArts and a PhD in political science from the University of Hawaii, Maus has been dubbed a “philosopher pop star” and “analog futurist” for the way he merges academic rigor with lo-fi synth-pop aesthetics. His influence spans genres and generations—from UK grime icon Skepta, who sampled his track “I’m Only Human,” and Gen-Z rapper nettspend, to filmmaker Josh Safdie, actor Natasha Lyonne, and photographer Wolfgang Tillmans. His track “Cop Killer” features in the 2025 film Friendship, underscoring his continued relevance across high and low culture. With five previous albums under his belt - Songs (2006), Love Is Real (2007), We Must Become The Pitiless Censors of Ourselves (2011), Screen Memories (2017) and Addendum (2018) - Maus has carved out a singular path where irony, grief, joy, and absurdity can coexist and gained a cult following along the way. On Late r Than You Think Maus doesn’t just return—he confronts, confesses, and transforms. The result is not only a career-defining work, but a rare artistic offering: one that dares to believe in meaning, beauty, and the possibility of transcendence

Two Grammy Award–winning artists joined forces for this inspired peak-hour track, originally featured on Louie Vega’s Expansions In The NYC album. The pairing of Louie’s signature house-driven percussive energy with Robyn’s instantly recognizable vocals created a moment that pushed boundaries and hinted at a future direction for the genre.

The remix package builds on that vision, showcasing a stellar line-up of some of the scene’s most innovative tastemakers—including Honey Dijon, KDA, and Dam Swindle—each delivering their own unique grooves while honoring the spirit of the original.

Continuing the percussive-driven and emotive themes from his previous EPs, CAIN reaches beyond the boundaries of experimental electronic and Celtic music from the Scottish Highlands. "Lineage" is the result of a life-long goal to combine his passion and experience in these respective worlds. The album includes Brighde Chaimbeul on Scottish small pipes, James Mackenzie on flute and vocals by Katie Mackenzie.

The common thread that connects his discography is the intense rhythmic and melodic elements that convey his love of ‘infectious rhythm, ethereal beauty, or an otherworldly strangeness’. His productions have garnered support from DJs like Ben UFO, Gilles Peterson, Peggy Gou, Hunee, Haai, Erol Alkan, Ame, Oneman, and Midland, amongst others. Balancing rhythmic precision with profound harmonic depth, CAIN weaves evocative builders that ignite dancefloors at peak time and reveal intricate sonic tapestries in the intimate confines of headphones.

CAIN's musical background is rooted in traditional Scottish bagpipe music, which evolved through his competitive performances on an international level. His experience and knowledge enhanced CAIN’s understanding of how regional folk music reflects specific environments and cultures. Through the competition circuit he met Brìghde Chaimbeul, out on the scenic games fields of Uist, Glenfinnan and many others. He also competed against James Mackenzie, an amazing piper and flautist. James is a former member of the band Breabach. His wife, Katie Mackenzie is a superb Gaelic singer.

The recordings with James and Katie were done on the island of Bernera, off the Isle of Lewis in the Outer Hebrides and recordings with Brìghde were made in Edinburgh.

Mastered by Sam at Precise, Design by Alexander Horne, Pressed and printed at Record Industry

Revolution 1988 EP is an innovative interpretation of early House and Acid House vibes. Clocking in at 125 Bpm on the A side, it sets the mood for the sonic exploration of naturally expressed, impactful and upbeat classic house piano riffs and a tight rhythm section, contaminated with a punchy bassline and rich percussive elements. To complete the journey, it’s also worth mentioning the effortless contribution of well worked out vocals and dubby kind of FXs that will lift the dancefloor to the very last beat.

The Red Pill can’t be labelled as a B side, in that it is a dancefloor filler of its own. Creating an 80s feel, it’s driven by funky, low rumbling bassline, and an articulated, snappy, sharp percussions, it infuses pure dancefloor energy with disco vibes and organic grooves. It encapsulates the listener/dancer in an immersive sonic bubble of exquisitely full range textures, emotional layers and sound stage experience. Again, meaningful vocals and piano grooves intermix with reggae/dub FXs and delays. Stick around for the finale and get ready for the unexpected ....

MCRV017 – Transient States. Feedback is an evocative four-track compilation that captures the deep essence of dub techno—equally suited for the dancefloor and for immersive, focused listening. Label veterans Eric Louis, Genning, Osman Oz, SUBMINIMAL (with a Tvardovsky remix), and Etzu Mahkayah all contribute. From the very first listen, the EP draws in discerning ears with its richness and detail.

Each track unfolds smoothly, evoking deep emotional textures and building a sensuous, introspective atmosphere. The release moves from subtle cues to vast sonic terrains, weaving through warm harmonics and resonant low-end thumps that captivate the body as much as the mind.

These tracks are ideal for transitional moments in a DJ set, yet stand strong on their own. Whether elevating the narrative arc, introducing mid-set tension, or closing a journey with emotional depth, each piece functions as a zealous tool for navigating sensation—crafted not just for movement, but for lasting memory.

Transient States exudes quiet power beneath a deliberate veil of restraint. Emotionally charged, sonically rich, and full of nuance, this release is a standout addition to any selector’s arsenal.

Limited edition

Grandbrothers are internationally regarded as one of the key acts redefining the intersection of modern classical and electronic music.
Elsewhere is their fifth studio album and marks their most transformative work to date.
The album sees a bold creative evolution: expanding beyond their signature grand piano sound into analog synths, drum machines, and a more physical, rhythm-driven aesthetic.

Jay York is up next for the third release on Toca with his first solo EP, Viaje. This release marks a significant evolution in his sound, with elements of a deeper and headier approach to his infamous tool driven production style.

Singaporean label Darker Than Wax brings us to Texas with a fresh 12” from Houston-born producer Oye Manny. Following his release on Salon Recordings, Oye Manny has carved out a lane defined by deep rhythms, Latin roots, and pure authenticity, an ethos he continues to distill into sound on his new record Living Water. Drawing on his Colombian roots and keenly focused on what makes dancers move, Manny puts percussion at the forefront on Living Water – from the chord driven house stompers ‘Malta Sip’ and ‘Palmira’ on the A side, to the darker club tones of ‘Visaje’ and the slick musicality of ‘Youthful Expression ‘ on the flip, drums play a starring role. Completing the package is a remix from Singapore-based producer and Darker Than Wax core member Dexter Colt, providing a deeper, Chicago-inspired take on ‘Malta Sip’.

The second release on Ben Kaczor and Lb Honne's new imprint "St. Odes" features Ben Oyefeso from Hamburg with a deep, glitchy 2x12" vinyl-only LP!

Ben Kaczor: “After a gig at the Golden Pudel in Hamburg last year, I stopped by Remoto Records the next day. The music playing in the shop struck me immediately — delicate, unusual, and soothing all at once. As I kept listening, I even noticed my headache fading away. Behind the counter was Ben Oyefeso, quietly playing his unreleased tracks. Since that moment, the rest is history.”

St. Odes emerges from the depths of Switzerland, born out of the friendship and shared sonic vision of Lb Honne and Ben Kaczor. Driven by a precise yet fearless approach to creative expression, the label embraces what they call “elegant punk” — a refusal to follow convention. While its roots lie in ambient, house, and techno, the focus remains singular: not on meaning, but on feeling.

The first release "Various Minds 001" sold out very quickly.

The second release features Ben Oyefeso from Hamburg with a deep, glitchy 2x12" vinyl-only LP!

Ben Kaczor: “After a gig at the Golden Pudel in Hamburg last year, I stopped by Remoto Records the next day. The music playing in the shop struck me immediately — delicate, unusual, and soothing all at once. As I kept listening, I even noticed my headache fading away. Behind the counter was Ben Oyefeso, quietly playing his unreleased tracks. Since that moment, the rest is history.”

Selecting melodious and groovy crossover, fusion, and jazz-funk tracks from the Nippon Columbia catalog, including its sub-label Better Days, that City Pop fans will love.
The track selection and commentary are curated by Hitoshi Kurimoto, the most popular City Pop influencer in Japan.
This unique selection includes tracks from Soul Media, Hiromasa Suzuki, Kazumi Watanabe, and Kiyoshi Sugimoto, along with previously unreissued gems.
The artwork is designed by Stereo Tennis, known for its popular '80s-inspired graphics.
A must-have for fans of Japanese Jazz and City Pop.

Side A
Don’t It Drive You Crazy (Break Edit) — The Pointer Sisters
Originally from the 1978 LP Energy, this is prime disco-era Pointer Sisters. The OG cut is beloved for its rolling rhythm section, and this edit zones straight in on the drum passages DJs & beatmakers have quietly relied on for years. Tight, punchy & perfect for looping under blends or quick cut-ins.

Side B1
In My Body’s House (Sample Drum Break Edit) — Gene Chandler
Lifted from Gene Chandler’s 1979 album Get Down, a late-career disco-funk gem. The drums here are the story: steady kick, crisp hats & a pocket that sits comfortably across disco, boogie & hip-hop-adjacent sets. This edit isolates the break for maximum flexibility behind the decks or in the studio.

Side B2
Don’t It Drive You Crazy (Sample Drum Break Edit) — The Pointer Sisters
A second, more surgical take on the same Pointer Sisters groove, focused almost entirely on the drum break itself. Think intros, beat tools & sample-ready loops.

Bottom line
A straight-up DJ weapon from start to finish. Disco breaks, clean edits & zero overthinking.

SUNANDBASS Recordings proudly presents its next release, welcoming rising artist Napes with a brand new single: Hit The Corner / Clamber. This release marks the exciting introduction of a new artist joining the SUNANDBASS Recordings roster, signalling a bright future for both the label and its evolving sound. With previous releases on Shall Not Fade and Alix Perez’s 1985 Music, Napes is a promising name within the modern jungle scene. This release is a clear statement of his pushing boundaries combining grime influences and old school jungle, giving us his fresh sounds and melody-led drum and bass music, reaching new horizons while staying rooted in foundations. On the A-side, Hit The Corner showcases acid-tinged synths that meet a UK grime edge, driven by energetic beats and rolling breaks. In 6:20, Napes lets us travel through all the facets of a SUNANDBASS Recordings journey, with his ever-changing arrangement that evolves from heavy, club-focused energy into a euphoric jungle-inspired middle section, before concluding with driving arpeggiated synths. On the B-side, Clamber offers a deep, darker contrast. Between the atmospheric strings set intro which is dropping into a heavy, bass-driven groove, easily imagined shaking the dancefloor during an Ambra Night indoor session. The track reveals a more introspective side of Napes, blending refined sound selection with classic, weighty basslines built for the dancefloor. We’re honoured to welcome Napes to the SUNANDBASS Recordings family, an artist whose sound reflects our love for all corners of the genre while paying homage to the music that brings us together in Sardinia year after year. SUNANDBASS Recordings continues to push the boundaries of drum & bass, fostering connection through music that transcends borders, unites listeners, and celebrates rhythm, movement, and culture.

Next in the We’re Going Deep label series, he welcomes 4 tracks of completely fresh material from a relatively unknown Italian producer, Davide Tonini. Hailing from the much fabled Adriatic coastal party town of Rimini in Italy, Davide has been shaping and sculpting Electronic sounds for well over 3 decades now. Having first started releasing music under his ‘Wet Basement’ alias back in 2015, his sonic palette traverses IDM, Techno, Deep House, Acid and Ambient soundscapes.

Having spent decades honing his practice, he has both self-released his music and worked with the long standing Odrex Music in Berlin. And there’s something deeply irresistible about his output that screams class and quiet dedication. In his own words, in around 2005 he got into the world of Eurorack and a few years later, Serge Modular. Since then, he’s been totally hooked...

In more recent times, Davide has recorded and released 2 digital LPs worth of material for ‘Detroit Underground’ under his own name, so it seems fitting that We’re Going Deep are now hosting a debut 12” cut – offering up 4 cuts of trademark sumptuousness. Bringing together the best of influences that touch on the likes of Aril Brikha, David Alvarado, Deepchord, Convextion and Basic Channel, he weaves together their respective magic to a new whole point of inflection that is both of this world and the other. All tinged with a warmth and smile that could only originate in Mediterranean climes.

The aptly named ‘A-1’ kick starts the EP in fine fashion as shimmering chords cut through rays of floatingly filtered synthesis, all beautifully dubbed out to a steady rolling kick and neatly shuffled high-hats, with precision bass notes interjecting to add an additional layer of funk. With bliss set to maximum, this is nothing short of genius. Followed by ‘Bilateral’, Davide offers a touch more space and lets the bottom end lead, whilst neatly filtered chords flicker to and fro - seeping their way into your consciousness as the tight drum work brings you to groove mode.

On the reverse, ‘Drive’ burrows further into emotive depths as Davide bathes you in layers of dub and twinkling melodics, all passed through a hazy film of goodness. Rounding off the EP with the deft touch of Distanze Logaritmiche – a soft roller that steeps you in undulating chords and cavernous effects. This is high class music that deserves patience and your attention to reap the ultimate rewards from a true master of his craft.

The "TRACK TRAX EP" is the new vinyl of the "Computer Controlled Minds"
The yellow vinyl clearly indicates the direction – ACID!
As the name suggests, it will be a fast-paced race.
On the A side, our track days start with a driving track, it quickly becomes clear that this will not be a leisurely Sunday ride. It's going to be a tough race. When approaching the apex, it is always important to remain seated and open the tap slowly.
The second track is a confession of love to Kerb, he wants to be loved and touched. But this love also harbors great dangers. If you drive too hard over the limit, the Kerb will pay back mercilessly.
With B1, the DOWNSIDER brings ecstatic acid acceleration to the slopes. If the braking point is exceeded, it can fall massively to the ground. The experienced technoracer has everything under control and brings the necessary momentum to the next straight.
As the race goes on, the strength dwindles and a clean line becomes more and more difficult, but at the same time it is the key to the thrill. The struggle with body and machine becomes clear, every action makes the body burn. Giving up is out of the question, the race is only over with the chequered flag. But now off to the bar!
Last but not least on the B-side, two short bonus sounds for all mix DJs

The Computer Controlled Minds show their clear roots, ACID and hard RACE.
TCCM can be booked as a live act via insta: __NEXT_DOOR__. You will never forget the race!